SUMMER SNAPSHOTS: NYC, WASHINGTON, MINNEAPOLIS, STORRS (WHERE?) AND CHICAGO - Summer, 2014 - Part 1

SUMMER SNAPSHOTS: NYC, WASHINGTON, MINNEAPOLIS, STORRS (WHERE?) AND CHICAGO - Summer, 2014 - Part 1

Here's what we did during our summer vacation!  Two classic musicals in much-heralded regional productions, one far more successful than the other, some tryout action, a bit of summer stock, a historic Tony-winning performance, one of the most terrible times I've had in nearly fifty years of going to the theatre and some really first rate playwriting. A very good summer, indeed.

LADY DAY AT EMERSON'S BAR & GRILL -  Circle in the Square Theatre, New York

Note: In honor of Pride Month, Playbill replaced it's traditional, iconic yellow banner color with a rainbow color scheme. Very cool indeed, Playbill!!

June, 2014. Audra. Lady Day at Emerson's Bar & Grill. There is a reason why she has won the Tony Award in every female acting category. There is a reason why she has won the most acting Tony Awards. That reason is talent. An abundance of it that she generously shares with us and those privileged to work with her. A stunning tour-de-force, brave and fearless. The magnificent Billie Holiday must be smiling at this glorious tribute to her genius. Thrilling.

CASA VALENTINA - Friedman Theatre (MTC), New York

June, 2014. Harvey Fierstein's stunning, thought-provoking and provocative new play certainly has the laughs you'd expect, but also has an edge, sharp and incisive, that gives the play it's soul. Flawless in direction and design, the outstanding ensemble cast of John Cullum, Mare Winningham, Gabriel Ebert, Tom McGowan, Patrick Page, Larry Pine, Nick Westrate, Reed Birney and Lisa Emery, brought these imperfect human beings thrillingly to life. Bob needs to direct this. I would return to acting to be in this.

THE CITY OF CONVERSATION - Mitzi Newhouse Theatre (Lincoln Center), New York

Stunning graphic work.

June, 2014. The City of Conversation by Anthony Giardina and directed to perfection by Doug Hughes had a scenic design by the inestimable John Lee Beatty that gave me shivers of pleasure when the real wood pocket doors made an appearance and starred the equally inestimable Jan Maxwell in a performance of depth and subtlety that proved once again that she is one of our finest actors. A smart, classy play of ideas and frequent bracing humor, this was a true theatrical treat, especially for this unrepentant liberal Democrat.

SIDE SHOW - Eisenhower Theatre, Washington, D.C.

June, 2014. Side Show didn't even last three months when it played on Broadway in 1997-1998. Seventeen years have passed since that too-short run and in that time, it's achieved somewhat of a cult status. And perhaps for good reason. The story of the Hilton sisters is a terrific story and the score is pretty damn wonderful. The Kennedy Center does not skimp when it comes to production values and the show was a visual treat. Leads Erin Davie and Emily Padgett were simply sensational as were Matthew Hydzik and Ryan Silverman as the men in their lives. The sound needs tweaking and hopefully David St. Louis will get his voice back. This was the third preview, but I foresee a hit for the Kennedy Center. (Update: on its way to Broadway's St. James with performances starting late October, 2014!) 

THE LAST SHIP - Bank of America Theatre (Shubert Theatre), Chicago

July, 2014. In it's pre-Broadway tryout, the John Logan/Brian Yorkey/Sting musical The Last Ship is a flawed, yet very promising new production that offers a stunning scenic design, a solid and often very funny book and a score that has moments of incredible beauty. The Geordie accents need to be lightened up a bit, especially during the musical numbers. Either that or some of the actors really need to concentrate on good diction. There were numbers where I understood very little of what was sung. People, you have body mics. There is absolutely no need for sloppy diction. There are two extraneous numbers that are meant to be comic, but, for me at least, seemed out of place. What truly concerns me, however, is that I found the secondary/supporting characters (Father O'Brien, Jackie White and Peggy White) far more interesting than the leading characters and that makes the show off-kilter. That's not a judgment on the competent performances of leads Michael Esper or Rachel Tucker, but I just didn't find either of them especially dynamic in performance and I just didn't care much about their characters. Kudos to Jimmy Nail (Jackie), Sally Ann Triplett (Peggy), Aaron Lazar (Arthur, the closest thing this show had to a villain) and especially the redoubtable Fred Applegate in the show's best performance as Father O'Brien. And though I couldn't quite shake the "Billy Elliott" feel that crept in every now and then, I quite enjoyed my time in the shipyards and streets of Wallsend and hope the creators continue to polish this potential jewel of a show.

Stay tuned for Part 2! Summer stock! Regional musicals! Horrible experience. Part 2 coming in a few days!!!

© 2014 Jeffrey Geddes

IN PRAISE OF BROADWAY BACKWARDS

IN PRAISE OF BROADWAY BACKWARDS

For the past six years, Bob and I have had the privilege of attending Broadway Backwards, an evening of theatre music benefiting New York City's LGBT Center on 13th Street and, since edition #5, Broadway Cares/Equity Fights AIDS as well. This past week on March 18, Broadway Backwards 8 was presented at the venerable Palace Theatre. The place was sold-out and raised nearly $350,000! That's both a lot of seats sold and a lot of money raised.

So what is Broadway Backwards, you ask? Simply put, it's a glorious evening where the guys sing songs usually associated with women and the gals sing songs usually associated with men. There are comedy songs, torch songs, love songs, and crackingly-sharp production numbers performed by well-known and respected theatre stars, many of whom are equally at home on television and in film, supported by a blisteringly talented ensemble. When we first started going to this event, it was a hosted musical revue. For the past two editions, a story line has been added, which is all very earnest and relevant, but sometimes breaks the momentum and slows down the evening. And that, folks, is my only quibble. Some years may be marginally better than others, but it's always an incredible evening full of laughter, great singing and dancing, and, yes, often some tears.

Broadway Backwards…long may it reign!

February, 2008. This was the start of our annual tradition.  This was also the first year that this event was presented at a Broadway house, in this case the smallish American Airlines Theatre. Seth Rudetsky was a hilarious host and kept the show moving. Unfortunately I can't find the song list, so I honestly don't recall who sang what. What I do remember is David Burtka and Neil Patrick Harris nailing a song from Rent, Julie Halston keeping us in stitches (and when doesn't she?), and the thrill of seeing all these amazing performers: Gary Beach, Tituss Burgess, Charles Busch, Kerry Butler, Len Carious, Gavin Creel, Sandy Duncan, Ann Harada, Cheyenne Jackson, Aaron Lazar, Karen Mason, Andrea McArdle, Lea Michele, Julia Murney and Tony Yazbek. I remember wishing we'd seen the first two editions. - at the American Airlines Theatre, New York

February, 2009. Once again, this event attracts the cream of Broadway talent. The loudest and most sustained applause was saved for legends Anna Meara, Florence Henderson (very VERY funny) and Maureen McGovern (my God, can that woman sing!).  "Matchmaker" with Christopher Sieber,  John Tartaglia and Jose Llana was a hoot.  So was Whoopi Goldberg leading the female ensemble in "Gee, Officer Krupke."  "Ugly Betty's" Michael Urie and Becki Newton did well with "Getting Married Today", and he's adorable in person.  The male ensemble performed a kick-ass "Big Spender." Tituss Burgess gave us a wonderful "Meadowlark." The entire show was professional to the max with one glaring exception. Sandra Bernhard was embarrassing...drunk? stoned? high?  Who knows, but we felt so sorry for her co-performer, smoking hot Cheyenne Jackson. Another memorable evening! - at the American Airlines Theatre, New York

February, 2010. For the 5th edition, the Center joined forces with Broadway Cares/Equity Fights AIDS for the first time and a terrific show became even better and, dare I say this, even more polished and professional. The change of venue to the Beaumont added many more seats and the theatre, not surprisingly, was sold out. Highlights: Tonya Pinkins thrilling us with "Too Many Mornings," Aaron Lazar's "As Long As He Needs Me," Nick Adams, Timothy W. Bish and Adam Perry tearing their way through an exhilarating "There's Gotta Be Something Better Than This," Douglas Sills' absolutely charming "I Could Have Danced All Night," Raul Esparza's moving "The Man That Got Away," Mario Cantone and the male ensemble in "Where You Are," and Tituss Burgess' "Children Will Listen." Bravissimo! - at the Vivian Beaumont Theatre, New York

 February, 2011.  Another sold-out house for the annual event benefiting the Center and BC/EFA. My favorites included: Alan Cumming being appropriately sleazy in "Don't Tell Mama," Ward Billeisen, Colman Domingo and Jose Llana's "You Could Drive a Person Crazy," the uber-sexy boys of the ensemble playing the merry murderers of the Cook County Jail in their rendition of the "Cell Block Tango," Debra Monk's lovely "On the Street Where You Live," Lillias White haunting "Some Enchanted Evening," Brian Charles Rooney and Ensemble in a stirring "One Halloween/Being Alive" combo, "All I Care About is Love" as performed by the singular Bebe Neuwirth and the ladies, Tony Yazbek's jaw-dropping "The Music and the Mirror," and Clay Aiken's moving "Home." Don't you wish you'd been there?? - at the Longacre Theatre, New York

March, 2012. This was the first year a story line was added and it didn't always work. It was all very sincere, but, and I really hate to say this, a bit like preaching to the choir. Having said that, my favorites this time around included: the amazing LaChanze's "Go the Distance," the multi-talented Charles Busch's touching "If He Walked Into My Life," Dan Butler and the boys doing a terrifically fun version of "The Boy Friend," Sierra Boggess and Elizabeth Stanley's beautiful "Tonight," Andrew Rannells show-stopping "The Music That Makes Me Dance," Mario Cantone's "What Did I Have That I Don't Have?," the legendary Betty Buckley's "Sweeney Todd" medley, and Shawma Harnic and the ensemble stirring "I Am What I Am." Why aren't there DVDs of these amazing evenings? - at the Hirschfeld Theatre, New York

March, 2013. Broadway Backwards at the Palace! Completely sold-out. Who knew Estelle Parsons could sing? I didn't. And she did a bang-up "September Song." You go, Estelle! More highlights: Jim Brochu and Tony Sheldon and especially Sheldon's wonderful "Be Happy," Judy Kaye and the legendary Anita Gillette, who at 76 (!!) can still sing it to the balconies, enchanting us with "Three Sunny Rooms," Jan Maxwell's "How to Handle a Woman," an amazing pas de deux by Patrick Corbin and David Grenke, Anthony Warlow's sensational "Time Heals Everything," Tituss Burgess and members of the ensemble earning a show-stopping standing ovation with the absolutely breathtakingly thrilling "And I Am Telling You I'm Not Going" (the two Jennifers, take note!), Karen Ziemba and the ladies in "Go Home with Bonnie Jean," a very, very sexy Josh Young and the hot, hot, hot men of the ensemble making Jekyll and Hyde's "Bring on the Men" a temperature-rising sizzler, Brian Stokes Mitchell lending his dulcet tones to "The Man I Love" and Stephanie J. Block and the ensemble with a sing-to-the-rafters "Our Time." Can't wait for next year! - at the Palace Theatre, New York

Until later...